David Bordwell (2002) has described contemporary mainstream cinema as a cinema of intensified continuity. When we combine Bordwell's analysis with that of recent cognitive work on attention, especially with work on edit blindness, we discover some intriguing results. For example, the increased rate of cutting in contemporary cinema serves to keep our attention continually aroused, but, at the same time, that which arouses our attention—the increased number of cuts—becomes decreasingly visible. That is, the greater the number of cuts made in the services of continuity editing, the less we are able to spot them. If, while watching contemporary mainstream cinema, the attention of viewers is aroused but viewers are decreasingly capable of spotting the reasons why this is so (i.e., the cuts themselves), then does this also serve to make contemporary mainstream cinema “post-ideological,” because it concerns itself only with “intensified” experiences? Or, as this article argues, does the sheer speed of contemporary mainstream cinema renew the need for the ideological critique of films?
James E. Cutting and Ayse Candan
This article investigates historical trends of mean shot durations in 9,400 English-language and 1,550 non-English-language movies released between 1912 and 2013. For the sound-era movies of both sets there is little evidence indicating anything other than a linear decline plotted on a logarithmic scale, with the English-language set providing stronger results. In a subsample of 24 English-language movies from 1940 to 2010 the decline in shot duration is uniform across 15 shot classes, a result that supports a broad “evolutionary” account of film change. The article also explores the proportions of these shot classes across years and genres, with the results showing that 25 percent of the decline in shot duration is due to a shift away from shot classes with longer-than-average shot durations towards those with shorter-than-average durations, and 8 percent of the decline is due to the increased use of shot scales in which characters appear larger.
with the “intensified continuity” that had been emerging since the 1960s. 4 The color palette of the film is also striking, depicting Los Angeles—or at least the well-heeled parts of it that the film spends much of its time depicting—as a brightly lit
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
“intensified continuity” [see Bordwell 2002 ]). 2 It is worthwhile to note here that Once Upon a Time in Anatolia was adapted from the real life experiences of a doctor, Ercan Kesal, Ceylan’s coscriptwriter, who takes the cameo role as the muhtar. Kesal
point-of-view (POV) shots entirely. He minimizes most of the techniques of “intensified continuity” 13 —despite copious depth staging, he avails himself of rack focusing but once; his shot scales favor gradations of long and medium shot framings; and he
Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi
-game films, and intensified continuity have been elaborated by several scholars with the purpose of responding to this scientific urgency. All these theoretical instruments reveal and tackle the transformations of mainstream audiovisual culture while
A Neurofilmological Approach
Intensified Continuity .” In The Oxford Handbook of New Audiovisual Aesthetics , ed. John Richardson , Claudia Gorbman , and Carol Vernallis , 331 – 356 . New York : Oxford University Press . Smith , Murray . 2017 . Film, Art, and the Third